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Any decent human being would look forward to new music. Unfortunately, I’m not a decent human being. In the case of local atmospheric six-piece Logical Drama; I’m doubly hesitant, because every single track I’ve reviewed, I’ve found to be faultless. And so I’m agonisingly awaiting the day that this chain of perfection sadly ends.

Has that day arrived? Thankfully, no, no it hasn’t.

In all honesty, my expectations for the new single ‘Siberia’ were all the more inflated with the arrival of a fresh vocal influence in the form of Joel Hughes. And without discrediting previous works, I definitely detected the new-found dynamism the change has offered. Vocally evolving from a melancholic drone to a tuneful anguish.

As you’d expect, ‘Siberia’ bears all the classic characteristics of a Logical Drama single; of course you have those wrenching guitars, of course you have that grovelling bass and of course you have those ominous strings. But this track is distinctive in that no other Logical Drama song has engulfed me in sound as immeasurably as ‘Siberia.’ I could probably sit here all day and throw out synonyms for ‘dark’ or ‘dread’ and it’d most likely describe ‘Siberia’ in a general sense, but that’d just demean the music itself because there are a collection of instances in this track where Logical Drama just truly clinch you. The initial slow and icy violin, an abundance of piercing sound effects thrown into the background, and not to mention that delightful tempo change just after the minute mark that overthrows the entire mood of the track.

I’m not all that fond of music that’s comfortable, or puts me in a position of ease. I think that’s why Logical Drama sits so well with me – it’s detached, callous and evocative. They aren’t making jogging music here; they’re making music the way it should be made, to be sat down and listened to. You either completely embrace it, or completely misunderstand it… and I know which side I’m on.

It’d be banal and predictable journalism if I said this single is the symbol of a band establishing its sound, but I don’t think it is at all. I think Logical Drama will almost certainly advance their sound further, and will get even better.

Please never stop making music.

FS

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Moral Panics are more than just 4 local lads making music together; they are a force to be reckoned with so it’s not surprising that they’ve nailed it once again with their new single ‘Mammoths’ from their upcoming EP ‘Ataraxia’. With a recent replacement in the band it’s been eagerly awaited to see if they would still hold that same magic we all know and love, and ‘Mammoths’ see’s them manage to keep their signature sound but somehow still kick it up yet another notch. After witnessing Moral Panics headline just the other week at The Underground it’s unmistakably clear that this band are still going onwards and upwards even after the success of their previous EP ‘Wlvs’.

The track launches you straight into Dan’s euphonious vocal over a timeless indie riff, which progresses with the buoyant drumming that characterises their sound down to a tee. The chorus is pretty monumental with a release of energy that hooks you immediately. Live Moral Panics completely captivate the crowd, and on record it’s no different. Before I’ve compared their sound to that of Foals, but this track seems almost slightly heavier and holds something else in there that makes it utterly brilliant. Without a doubt these lads are one of the best local live bands you’ll see and luckily the release show for ‘Ataraxia’ is just around the corner on 8th May at The Sugarmill so I’d definitely get yourselves down there to witness it.

This single definitely show’s that this EP is looking to be bigger and better than anything else they’ve produced and once again they’ve somehow managed to fire out something great in what feels like no time at all.

Alisha

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There’s a lot you can buy with £5. A pint, a reduced CD, a cup of coffee. A bunch of flowers for the one you love. But on Saturday night, £5 bought me a seat at The MET in Stafford to see The Taskers launch their brand new album titled Pleasure Point, with a little help from their friends.

Wilcox:Hulse kicked the night off excellently, with a laid back ‘folk and roll’ infused set. Opening with ‘From The top Down’, a song carried by the warmth of the acoustic guitar, and the ever growing need to tap your foot, Wilcox:Hulse were the best choice to begin proceedings. Along with songs like ‘Upon’, a song about Stoke-on-Trent, ‘Coming Back’ and ‘The Year Of ’42’, the acoustic duo appeared to be entirely immersed in every word they sang, and every chord they played.

Next to take to the stage was Sons of Clogger, a four piece folk rock punk and bit of everything band. Playing songs such as The Bearded Lady, The Ventriloquist and King Of The Gypsies, Sons of Clogger put a big slice of personality into all aspects of their performance. I could tell this was a good set, just by looking at the clapping, cheering and stamping of feet from the audience. The four piece from Stoke-on-Trent ended their lively, dancey slot amongst an evening of fantastic musical madness with Get Yourself Off Home, which contained equal amounts of the obscurity and enthusiasm they began with.

With every audience member left walking on the ceiling after Sons Of Clogger’s fast paced fusion of fantastic songs, it was Gavin Osborn who had the job of bringing everyone back down to their seats. To the untrained eye, which included every member of The MET’s audience, Gavin Osborn looked as though he’d have a hard time filling the Clogger shaped hole that had been left on the stage. Yet, in the best and most brilliant way possible, he did it. Opening with a song that centred around Adam Woodyatt and his much loved character Ian Beale, (yes, you heard me right) Osborn instantly won everyone’s compassion. This compassion remained throughout the entirety of Osborn’s performance, and continued to grow with every story he sang to us. One song that really struck me was Albert Went Out To See Rock Bands, a beautifully sung story about an elderly man he’d seen moshing at a Charlatans gigs. Gavin Osborn’s set was entirely relevant and very culturally aware, leaving me to beg the question ‘How have I never heard of you before?’

With Gavin Osborn’s set completed, it was time for The Taskers to take their place before us. Quite accidentally, I’ve seen them at several points in their career and watched them evolve into the four-piece they are today. I was no stranger to a typical Tasker set list, which could make me biased, but not one person in that room could deny the brilliance of their performance. The Taskers were most definitely on form.

Opening with the title track off their new album Pleasure Point the four-piece, consisting of Jack Tasker on guitar and vocals, SBT on drums, cajon and vocals, Jack Rennie on bass, keys, percussion and vocals, and Sarah Pickwell on cello, brought energy levels sky high. Ripping through a load of new tracks including Chemical War and Shit & Blossom, it’s really clear that The Taskers have found their sound – and I absolutely love it. Songs such as Undone and Ghost remind the audience of how effortlessly they make even the calmer, more laid back songs seem, and provide a small break in proceedings. A beautiful moment occurred in Ghost, as all four members appeared completely lost in every corner of their music. One of the strongest songs from their set was most definitely Denmark, an acoustic, mellow song that was entirely ripped apart in front of us all. With a hauntingly beautiful cello accompaniment, and the extent of SBT’s vocal talent being showcased for all to see, Denmark has to be one of my favourites from the evening. Not only is it a pleasure to see four talents come together and make brilliant music, it’s great to see such confidence between them all. The Taskers continued on with Rafts, a folky number, Smear, Hogs From Hell (oinking and snorting included), Trials and, the ever beautiful, Mountains To The Sea, until eventually ending on an impromptu rendition of Rockin’ In The Free World by Neil Young. Bringing the night to a rocky end, The Taskers left the stage and headed to the pub next door to sell copies of their brand new banger of an album.

I left on a high, and I’m pretty sure the rest of the audience did too. Our ears had observed a rocky, folky, dancey, funky, up beat, laid back, well connected and well rehearsed evening of great talent, and all for the price of a cheap bouquet of flowers. Such raw and real talent like that of The Taskers is hard to come by, and the fact that they’re probably the nicest people going is certainly a benefit. What does the future hold for The Taskers? I don’t know, but I do know that they’re only going to get better.

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No, this isn’t an Indie cover of the Wham tune, this is the latest effort from Malthouse who have grown in stature during the last few months with their unique brand of the 60s influenced Soul Pop.

Ever since the band formed in late 2013 they have become one of the most underrated yet acclaimed bands in the area, this is probably due to the fact that they are doing something different. They could easily play it safe and go for Arctic Monkeys or Noel Gallagher influenced rock, or go for something like the quintessential hipster would and go for Foals. But no… They have gone for something different, they have gone retro but not down the same route everyone else goes, instead they have gone a different direction. Every band aspires to end up in the same place but some have different ways to get there, Malthouse are that sort of band!

The new track ‘I’m your Man’ is their newest single and possibly the best thing they have released in my opinion since ‘Lay me Down’ which was released around a year ago. If its comparable to anything modern day think ‘Mad Sounds’ on AM, but that still isn’t doing this track justice.

I listen to this and I think to myself ‘I’ve heard this song before,’ but I haven’t. It’s the quality of Malthouse that they can write a song that gives me a nostalgic feel, It’s an underrated characteristic that not many bands can pull them and to their credit they do it superbly!